|
|
Medina, J. S. (2017). Leather, spikes, and chains. The influenec of gay culture in punk, hard rock, and heavy metal music. self published: Amazon.
|
|
|
|
Miller, J. (2021). What Makes Heavy Metal “Heavy”? The Journal of Aesthetics and Art Criticism, 80(1), 70–82.
|
|
|
|
Marjenin, P. A. (2014). The Metal Folk: The Impact of Music and Culture on Folk Metal and the Music of Korpiklaani. Master's thesis, Kent State University, Kent.
|
|
|
|
Reis Alecrim, T. (2021). The Day of Doom Has Come: A representação do mal, a indústria cultural e a cultura da participação na produção do Sepultura (1984-1987). Master's thesis, Universidade de São Paulo, São Paulo.
|
|
|
|
Varas-Díaz, N., Hickam, B., González-Martínez, S., Castañeda, M., Galicia Poblet, F., Nieves Molina, A., et al. (2022). “Toda la sangre formando un río”. Contributions to the histories of metal music studies from the Spanish-speaking world. Metal Music Studies, 8(1), 47–68.
|
|
|
|
Valijärvi, R. - L. (2022). Cultural trauma in the lyrics of the Estonian folk metal band Metsatöll. metal music studies, 8(1), 7–27.
|
|
|
|
James, K. E., & Walsh, R. J. (2022). Masculinity and underground music scene participation across time: A case study from Indonesia. Metal Music Studies, 8(1), 29–46.
|
|
|
|
Hurley, G. F. (2022). Funeral doom metal as the rhetoric of contemplation: A Burkean perspective. Metal Music Studies, 8(1), 69–85.
|
|
|
|
Gibson, D. L. (2022). Mechanical and artificial “nü-horror metal”: The film music of “Resident Evil”. Metal Music Studies, 8(1), 87–108.
|
|
|
|
Herbst, J. - P. (2022). “Keeper of the Seven Keys”: Audio heritage in metal music production. Metal Music Studies, 8(1), 109–126.
|
|
